Tuesday, 4 December 2012

State of Play textual analysis model

Model Essay: State of
Play

The extract immediately positions the audience as close
observers of the chase. The medium close ups intercut between two different
sets of feet, stylised in highly contrasting footwear – (trainers and polished
black shoes), and combine with tracking shots to keep pace with the characters’
movements. The overlaying of diegetic sound in the form of tribal drums makes
sense as soon as the handheld close up reveals the character on the run to be
black. The music is effective in reinforcing his black identity, particularly
through the use of bongo drums, arguably showing disregard for political
correctness. The quick pace of the editing allows the director to establish a
city location – very probably London – through establishing shots featuring
crowds of people, contrasting in their behaviour compared to the black youth.
At this point in the first narrative, the director offers a conventional
representation as the black character is clearly experiencing disequilibrium
(Todorov) and the audience is encouraged to believe this character is in
danger. Arguably this supports the cultural view that black youths are both the
protagonists of crime but can also be the victims. The director uses mise en
scene in the actor’s gesture of looking behind him, with highly anxious facial
expression filling the frame, to confirm disorder and vulnerability.

The editing performs a complex role in threading together
three disparate narratives that by the end of the opening sequence seem to tie
together. Throughout each sequence, representations of class and status are
significant. In contrast to the very first narrative the audience are instantly
cut to a radically contrasting character – a middle aged, middle class, white
male. The director uses every aspect of mise-en-scene, clothing, (his suit,
shirt, tie and expensive overcoat), his gestures (confident, strident walking)
his props (the Financial Times) to communicate a man of high class and social
standing. Mid shots dominate as a means to help communicate body language. He
mirrors the first narrative in that he too is on his way somewhere, however his
representation is so different to the black boy that the audience is intrigued
as to how these two characters could be connected, if at all. To further complicate
the sequence, a third narrative is intercut featuring a young girl, who again,
through mise en scene is represented as lower class. The setting of the café
connotates a working class environment, matched by her clothing and gestures
(multiple consumption of cans of coke) indicating that she has been waiting for
someone for some time, very probably the black youth. They are linked together
through a shared social class. The other man is still at this point
disconnected, primarily due to the major contrast in social class.The camera
movement is highly significant in the café sequence as the camera steadily pans
in on the girl from behind to establish the idea that she is vulnerable and
quite literally “needs to watch her back”. Her significance is magnified by the
camera tilting downwards to slowly reveal a briefcase, barely concealed by a
bin-bag. The length of the edit on the briefcase as a key prop helps the
audience to anticipate what is coming to the black youth.

Arguably the most interesting contrast in representation is
focussed on the differences between the black youth and his assassin. The
director uses close ups to reveal an arguably stereotypical representation of
the black youth : gold earring, hoody, trainers , and in contrast the more middle
class status of the assassin is more gradually revealed. Costume emerges as a
vital aspect of mise en scene in establishing higher status through polished
shoes and an expensive woollen overcoat. As his identity is revealed, his calm
and controlled gestures illuminate his
experience in killing in cold blood. The medium close up of the assassin,
aiming the gun from the point of view of the victim, reinforces his clinical,
organised approach. The director uses deliberately complex camera work to build
tension for the audience. At the point when the black youth is successfully
hiding from the assassin the editing slows down and he fills the frame with the
use of a low angle, however this misleads the audience as we see in medium shot
the impact of the shooting as he slides down the frame and the camera remains
static. In terms of status, the black youth is now defined as a victim,
although the audience are compelled to wonder if his own actions have
facilitated his violent downfall.

Sound plays an important role in establishing meaning,
particularly through non diegetic sound to set the tone and pace of this
action-packed sequence. Interestingly the director has chosen to completely
avoid diegetic script. Arguably the lack of discourse between the characters
forces the audience to rely heavily on visual codes – particularly mise-en-
scene and editing – to piece together what promises to be a highly complex and
absorbing narrative. The director has been highly successful in establishing
representation of class and status as a major source of intrigue, leaving the
audience perplexed at how such disparate characters could be interconnected.

Potential Tasks

·Highlight all media-specific language

·Consider the introduction – is the question
repeated or is a point made

·To what extent is analysis balanced across the
technical codes

·The section with the motor-cycle courier has
been missed out – is this a problem?

·The LACK of diegetic script has been discussed –
is it useful to sometimes discuss what is NOT THERE

·Please note – this is NOT A PERFECT TEXTUAL
ANALYSIS – what are a) the strengths b) the limitations

·Think about everything you’ve learned about
textual analysis so far – can you come up with the ultimate top ten
tips!!!!!!!!!!

A2 Media 2013 - 2014

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